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The Game Changers

Postby Roland Kuit » 18 Mar 2016, 18:22

23-03-2016

Concertzender - Electronic Frequencies

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The Game changers

A new series for Electronic Frequencies at the Concertzender by Roland Kuit

Fear and bravery
"An act of bravery to break out of tonality's coffin earlier in this century. The rule-inventing and rule-breaking of that era unblocked new musical thoughts. Today, electronics require similar courage to approach and offer the same liberation.
Atonal-ism also offered a distraction; suddenly, in order to be a composer one had to study mathematics. An equivalent distraction value comes today out of using electronics, particular live electronics.
Fear and distraction are an important part of electronic music today. Perhaps in the future the computer will be easy to configure and use, and as reliable as a piano
is now. If this happens, composers and performers will seek new sources of uncertainty."

(Puckette and Settl, 1993)

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We are living in the next century now. New Challenges came up. To name a few:
New words and scales theories; Geometrical, topological and computational models; Computational analysis and cognitive musicology; Subsumption of Vertical Viewpoint Patterns; the Planet-4D Model: An Original Hypersymmetric Music Space Based on Graph Theory; Melodic Morphing Algorithm in Formalism. Etc, etc,
We have come a long way.
There is no fatigue or weariness in the the creative world. New inventions and equipment has opened so many possibilities.
Roland Kuit in search for electronic/electroacoustic composers with the same bravery, rule-breaking and rule-inventing ways to create new musical fundamentals for
the generations to come.

March 23 Roland Kuit will start with a composer’s portrait of Ana-Maria Avram

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After graduating from the National Conservatory of Music in Bucharest, she obtained a degree from Paris Sorbonne in 1992. In 1994 she was awarded the Grand Prize in Composition from the Romanian Academy. Since 1988, Ana-Maria Avram has mentained a close collaboration with Iancu Dumitrescu, but she has also continued to forge her own direction in music.
She is considered to be one of the most important Romanian composers of her generation.
She represents with Iancu Dumitrescu the Hyper-Spectral trend in contemporary avant-garde music. Conductor with Dumitrescu of the Hyperion International Ensemble.
Her music is spectral, acousmatic and transformational. Avram composed around 160 works. Music for soloists, chamber music, orchestra, electronic and computer assisted music.
Her musics are published by Edition Modern, Electrecord, Artgallery, Radio France.

Broadcasting link:
http://www.concertzender.nl/programmagids/?date=2016-03-23&month=0&detail=84002
Last edited by Roland Kuit on 19 Mar 2016, 11:46, edited 1 time in total.

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The Game Changers


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Re: The Game Changers

Postby Roland Kuit » 23 Mar 2016, 19:12


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Re: The Game Changers

Postby Roland Kuit » 25 Mar 2016, 21:15


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Re: The Game Changers

Postby Roland Kuit » 18 Apr 2016, 09:53

The 2nd broadcast in this series is with the music of Carla Scaletti.

This spring 2016 she was on the cover of the Computer Music Journal

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With this article:
http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_a_00341

Carla Scaletti

Carla Scaletti is an experimental composer and entrepreneur, designer of the Kyma sound design language and co-founder of Symbolic Sound Corporation. Her compositions always begin with a “what-if” hypothesis and involve live electronics interacting with acoustic sources and environments.

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Educated at the University of Illinois (DMA, MCS), she studied composition with Salvatore Martirano, John Melby, Herbert Brün and Scott Wyatt and computer science with Ralph Johnson, one of the Design Patterns “Gang of Four.” She received the Distinguished Alumnae Award for invaluable contributions to the field of music from Texas Tech University where she earned her master’s degree in music and graduated magna * laude with a bachelor’s degree in music from the University of New Mexico.

In 2015, she was invited to present a keynote address at the International Computer Music Conference (ICMC 2015), and she has been an invited lecturer at GVA Sessions — a workshop involving choreographers, filmmakers, and particle physicists from CERN — and the Centre de Crèation Musical Iannis Xenakis (CCMIX) in Paris. Each year, she co-organizes the Kyma International Sound Symposium (KISS).

Music:
1/ Lysogeny (1983) by Carla Scaletti
For Harp and computer generated tape.

2/ Frog Pool Farm (2002) by Carla Scaletti
One steamy moonlit night at the beginning of summer, I was walking home when I stumbled into what can only be described as a frog orgy....

3/ SlipStick (2008) by Carla Scaletti
We tend to use the word "friction" in a pejorative sense as in, "Your independent thinking is causing a lot of friction in the group." But without friction, there would be no love, there would be no forward progress, there would be no vocal utterances, and there would be no music!


4/ Cyclonic (2008) by Carla Scaletti
Cyclonic was inspired by the awesome power of the weather in east central Illinois. It explores the ambiguities between events as experienced, events as remembered, and events as imagined.


5/ QUANTUM (2013) by Carla Scaletti (excerpt)
In 2013, I had been working with physicist Lily Asquith for a couple of years, (https://lhcsound.wordpress.com) on sonifying data from the ATLAS experiment at CERN, when choreographer Gilles Jobin surprised me by asking me to compose the music for his physics-inspired dance piece......

27 April 23.00 hours C.E.T. at Concertzender

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MORE INFO HERE:
http://www.concertzender.nl/schedule/?date=2016-04-27&month=0&detail=84378

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Re: The Game Changers

Postby Roland Kuit » 28 Apr 2016, 08:50

In case you missed it and want to hear it in your own time, here is the direct link to the archive:
Listening Link

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Re: The Game Changers

Postby Roland Kuit » 19 May 2016, 10:20

The Game changers #3

Electronic Frequencies: 25-05-2016 - 23.00 C.E.T.
A portrait of Curtis Roads; 'microtones and pulsars'.

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In the 1940s, the Nobel prize winning physicist Dennis Gabor proposed that any sound could be decomposed into acoustical quanta bounded by discrete units of time and frequency. This quantum representation formed the famous Gabor matrix. Like a sonogram, the vertical dimension of the Gabor matrix indicated the location of the frequency energy, while the horizontal dimension indicated the time region in which this energy occurred. In a related project, Gabor built a machine to granulate sound into particles. This machine could
alter the duration of a sound without shifting its pitch.
In these two projects, the matrix and the granulator, Gabor accounted for both important domains of sound representation. The matrix was the original windowed frequency-domain representation. "Windowed'' means segmented in time, and "frequency-domain'' refers to spectrum. The granulation machine, on the other hand, operated on a time-domain representation, which is familiar to anyone who has seen waveforms in a sound editor.

Curtis Roads is the first person to implement granular sound processing in the digital domain.

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Curtis Roads creates, teaches, and pursues research in the interdisciplinary territory spanning music and sound technology. He studied electronic music and computer music composition at California Institute of the Arts (CalArts) and the University of California, San Diego (UCSD) and received a Doctorate from the Université Paris 8.

He was Editor and Associate Editor of Computer Music Journal (The MIT Press) from 1978 to 2000, and co-founded the International Computer Music Association (ICMA) in 1979.
A researcher in computer music at MIT (1980-1986), he also worked in the software industry for a decade. He taught electronic music composition at Harvard University and sound synthesis techniques at the University of Naples. He was appointed Director of Pedagogy at Les Ateliers UPIC (later CCMIX) and Lecturer in the Music Department of the Université Paris 8.
A pioneer in the development of granular synthesis (1974), he also developed (with Alberto de Campo) the program PulsarGenerator (2001), distributed by the Center for Research in Electronic Art Technology (CREATE) at UCSB. Another invention is the Creatovox, an expressive instrument for virtuoso performance that is based on the synthesis of sound grains and other sound particles. The Creatovox, developed in collaboration with Alberto de Campo, was first demonstrated to the public in March 2000. In 2008, CREATE released Emission Control, a new program for sound granulation written by David Thall in consultation with Curtis Roads.
“Beneath the level of the note lies the realm of microsound, of sound particles.
Microsonic particles remained invisible for centuries. Recent technological advances let us probe and explore the beauties of this formerly unseen world.
Microsonic techniques dissolve the rigid bricks of music architecture the notes into a more fluid and supple medium. Sounds may coalesce, evaporate, or mutate into other sounds.

The sensations of point, pulse (regular series of points), line (tone), and surface (texture) appear as the density of particles increases. Sparse emissions leave rhythmic traces. When the particles line up in rapid succession, they induce the illusion of tone continuity that we call pitch. As the particles meander, they row into streams and rivulets. Dense agglomerations of particles form swirling sound clouds whose shapes evolve over time.”
(Curtis Roads “Microsounds” 2001)

Xenakis applied the first microsounds in composition electronic music.
Not realtime but by use of tape splicing, tape speeds, numerous transitions and overdubs, these -cut into one-second fragments of burning charcoal- sounds getting a granular character.

01/ Xenakis: Concrete PH (1958). *

Barry Truax managed to create granular synthesis in real time using the PODX system, at the Simon Fraser University.

02/ Barry Truax: The blind man(1979). excerpt **

Curtis Roads ***:

03/ Now (2003). 6:14.
04/ Eleventh Vortex (2001). 4:06.
05/ Half-life, Part I: Sonal Atoms (1999). 3:34.
06/ Half-life, Part II: Granules (1999). 2:44.
07/ Sculptor (2001). 3:13.
08/ Volt Air, Part I (2003). 3:16.
09/ Volt Air, Part II (2003). 2:35.
10/ Volt Air, Part III (2003). 2:15.
11/ Volt Air, Part IV (2003). 2:07.
12/ Fluxon (2003). 3:05.
13/ Pictor Alpha (2003). 3:23.
14/ Nanomorphosis (2003). 3:16.

* REGRM 007 / Iannis Xenakis
GRM Works 1957-1962.

**
Barry Truax‎– Digital Soundscapes
Label:
Cambridge Street Records ‎– CSR-CD 8701.

***
CD13 Tenth Vortex (2000). 3:01.
DVD01 Sculptor (2001). 3:12.
DVD02 Half-life (1999) Parts I And II. 7:36.
DVD03 Volt Air, Part I (2003). 3:14.
DVD04 Volt Air, Part II (2003). 2:34.
DVD05 Volt Air, Part III (2003). 3:19.
DVD06 Volt Air, Part IV (2003). 2:01.
DVD07 Fluxon (2003). 3:09.
DVD08 Pictor Alpha (2003). 3:25.
DVD09 Nanomorphosis (2003). 3:15.
DVD10 Sonal Atoms Visualization By Woon Seung Yeo. 3:36.
DVD11 Pictor Alpha Visualization By Garry Kling. 3:26.
DVD12 Audio Lecture By Curtis Roads At Stanford University June 2004. 20:57.
DVD13 Historical Example Of Granular Synthesis: Prototype (1975). 6:42.

Curtis Roads – Point Line Cloud.
Label: Asphodel – ASP 3000

Produced by: Roland Kuit

http://www.concertzender.nl/programmagids/?date=2016-05-25&month=0&detail=84932
Last edited by Roland Kuit on 20 May 2016, 12:09, edited 2 times in total.

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Re: The Game Changers

Postby Roland Kuit » 26 May 2016, 06:43

Last edited by Roland Kuit on 26 May 2016, 06:48, edited 1 time in total.

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Re: The Game Changers

Postby Roland Kuit » 31 May 2016, 23:12

If you like to know more about microsounds, watch this video with Curtis Roads:
http://www.vice.com/en_ca/video/curtis-roads--2

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Re: The Game Changers

Postby Roland Kuit » 13 Jun 2016, 21:02

22 June 2016 23.00 hours C.E.T.

Electronic Frequencies: The Game Changers #4

A portret of composer Gustavo Chab

Gustavo Chab is an experimental composer and sound designer. Educated in Buenos Aires he studied harmony, counterpoint and composition with Daniel Montes and Francisco Kropfl. He was an active member of Otras Musicas Group and FARME of Buenos Aires. He composed his first electroacoustic piece Mirada Roja in 1993, specializing in composition techniques in electroacoustics. He has received-among many awards - a special mention of the Municipality of Buenos Aires, first prize of the FNA, and honorable residence in the International Electroacoustic Music Competition at Bourges. His compositions, including works for instrumental, digital and mixed media, electronic music, acousmatic art, visual poetry, music theater and performances. Frequently explores the spacialisation of sound in composition mixing electroacoustic sounds, vocal sounds and acoustical instruments.
Since 2014 is member of Sonoridades Alternativas of Buenos Aires.

Gustavo Chab – electroacoustic music:

1/ Mirada Roja. (“red sight”, first piece 1992). Electronic Music, is a homonym of an expressionist painting by Arnold Schönberg (1910).
This piece tries to convey the expressive power of the picture. The imaginary voice emerges from the center of the picture, evoking transformation as an emotive symbol. At the same time, the sight stands out from its dramatic environment. Here, the yearning for change is also an illusion poetically expressed. The material is given a meaning and a temporal reference, having as a starting point the aesthetic value that the author elaborates in relation to a time and work. The material acts and dilutes itself, and throughout the three sections of the piece it modulates from an electronic voice simulation towards a real chorus. This work was completed at LIPM, using a DX7 and a Synclavier II.

2/ Dedálico 2007 -2008. Another common Dalíesque image emerge slowly. Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. As Dawn Ades wrote, "The soft watches are an unconscious symbol of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order"

3/Lever-k acousmatic music - 2007 - 2008. stereophonic quadraphonic 4.50 "
Parmegiani influences:
Musique concrète set out to expose the intrinsic value of sounds, effacing their symbolic or musical significance. In the process, a number of composers have given an added dimension to their work by participating in the intellectual developments of their time.
..distance hums, sudden silences, abrupt clicks and burst of sound an epic work like La Creation Du Monde are many influences that decided to explore.

4/ Etérea Ethereal Futura I (violin performer and tape) "lightness and unsubstantial lacking material form containing or dissolved in ether".
Performer plays and creates event interacting with graphic scores, tapes and live electronics.
Eterea - Ethereal - version 2015-2016 - for violin - playback as interactive electronic elements, live electronics.
Producing octaphonic surround concerts - LIPM interaction between electronic violin, cd tapes and pre prepared sounds are remixed. Octaphonic system and speakers addressed as four stereo pairs fed by eight mono channels with a circular numbering; beginning with speakers 1/2 on the stage, followed by 3/4 5/6 and 7/8 behind the audience.
Playback as interactive electronic elements - surround expression - stereo sound transmission.

5/ Dibujos sobre el plano I – II 2012 - 2013
Drawings architectural design - geometrical construction - graphics lines interpenetrating.. disappearing transforming figures - mirrors and optics
forms - grains of matter - Mini and Macro structures that can be made thanks computer technology, software like Spear of Michael Klingbeil Matter. Pulsar – excerpt (2014) - The precise periods of pulsars make them useful tools. Certain types of pulsars rival atomic clocks in their accuracy in keeping time. the light is pointed in the direction of an observer, and is responsible for the pulsed appearance of emission. They have regular rotational periods. This produces a very precise interval between pulses that range from roughly milliseconds to seconds for an individual pulsar. "A kind of background roar to the universe, incessant regular waves crashes round the audience".
Berberan mix - excerpt (2015 / 2016) a gesture associated with Berberian....

6/ Etérea Ethereal Futura I. (violin performer and tape). "lightness and insubstantiality lacking
material form containing or dissolved in ether". Performer plays and creates event interacting
with graphic scores, tapes and live electronics
Etérea Ethereal is an speculative composition, a creative form of working with sonic material, is an open source / is a mental process that assemble ideas and series that not always is necessary to be heard / prototype is a musical systems / Intuitive improvisation with interactive electronics - graphic notation with electronic patches navigating scores with cartography and creative music combining live performance. Prototype will seek to explore image, ideas, concept, geometries, music notation and other combinations.

7/ Blending birds. Part III. (excerpt).

8/ Geminis.

http://www.concertzender.nl/programmagids/?date=2016-06-22&month=0&detail=85871

Produced by Roland Kuit
Attachments
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Composer Gustavo Chab
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Last edited by Roland Kuit on 13 Jun 2016, 21:09, edited 1 time in total.

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Re: The Game Changers

Postby Roland Kuit » 23 Jun 2016, 09:40

In case you missed this, here the direct listening link:
http://www.concertzender.nl/player/?mode=rod&prid=338782

Edited
Last edited by Roland Kuit on 04 Jul 2016, 09:27, edited 1 time in total.

The author Roland Kuit was thanked by:
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